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Home»News»Global Free Speech»Slavenka Drakulić. Photo: De Balie/CC BY 3.0 Slavenka Drakulić, Croatian writer, journalist and Index contributor, whose work covered topics from war in the former Yugoslavia to a novel on Frida Kahlo, has died aged 76. Born in Rijeka in 1949, she began her career as a journalist in the 1970s, going on to contribute to publications such as Index, The Nation, The Guardian and Dagens Nyhete, alongside publishing a number of fiction and non-fiction books. When Index first published an essay by Drakulić in 1993 she had left Croatia for Sweden following a hit piece that described her and four other prominent female Croatian writers as “witches” and “traitors”. In her response entitled Close-up of death, she wrote angrily about what she called the “book keeping” of death since 1945 which had changed nothing for the tens of thousands of people under siege in Sarajevo during the Balkans war. “Generations have learned about concentration camps at school, about factories of death; generations whose parents swear that it could never happen again – at least not in Europe – precisely because of the living memory of the recent past. They are fighting this war. What, then, has all that documentation changed? And what is being changed now, by the conscious, precise bookkeeping of death that is happening in our lives, in our living rooms, while we watch transmissions of the dying in Sarajevo?” In a speech called Who’s afraid of Europe?, reprinted in Index in 2001, she warned of rising nationalism across the continent, asking “what exactly constitutes Europe? Where does it begin and end?”. Twenty years later she wrote again for Index. Emotional baggage explores the few items a refugee decides to pack before fleeing Russia’s invasion of Ukraine. Drakulić’s 2003 novel They Would Never Hurt a Fly explored the personalities of accused war criminals as they went on trial for their actions during the breaking up of Yugoslavia.  Commenting on the trial of former president Slobodan Milošević, the novel asks yet again how seemingly ordinary people become perpetrators of atrocities. Drakulić’s final book Zašto nisam naučila kuhati (Why I Never Learned to Cook) released shortly before her death, is a collection of essays discussing her relationship with food through a series of personal vignettes. Translated into over 30 languages, her work is easily accessible to a global audience. Drakulić will be remembered as one of Europe’s strongest feminist voices, one who has influenced a generation of writers and journalists through her chronicles of war, nationalism and communism. Slavenka Drakulić was born on 4 July 1949 in Rijeka, Croatia and died on 20 June 2026 in Sovinjak, Croatia aged 76 READ MORE
Global Free Speech

Slavenka Drakulić. Photo: De Balie/CC BY 3.0 Slavenka Drakulić, Croatian writer, journalist and Index contributor, whose work covered topics from war in the former Yugoslavia to a novel on Frida Kahlo, has died aged 76. Born in Rijeka in 1949, she began her career as a journalist in the 1970s, going on to contribute to publications such as Index, The Nation, The Guardian and Dagens Nyhete, alongside publishing a number of fiction and non-fiction books. When Index first published an essay by Drakulić in 1993 she had left Croatia for Sweden following a hit piece that described her and four other prominent female Croatian writers as “witches” and “traitors”. In her response entitled Close-up of death, she wrote angrily about what she called the “book keeping” of death since 1945 which had changed nothing for the tens of thousands of people under siege in Sarajevo during the Balkans war. “Generations have learned about concentration camps at school, about factories of death; generations whose parents swear that it could never happen again – at least not in Europe – precisely because of the living memory of the recent past. They are fighting this war. What, then, has all that documentation changed? And what is being changed now, by the conscious, precise bookkeeping of death that is happening in our lives, in our living rooms, while we watch transmissions of the dying in Sarajevo?” In a speech called Who’s afraid of Europe?, reprinted in Index in 2001, she warned of rising nationalism across the continent, asking “what exactly constitutes Europe? Where does it begin and end?”. Twenty years later she wrote again for Index. Emotional baggage explores the few items a refugee decides to pack before fleeing Russia’s invasion of Ukraine. Drakulić’s 2003 novel They Would Never Hurt a Fly explored the personalities of accused war criminals as they went on trial for their actions during the breaking up of Yugoslavia.  Commenting on the trial of former president Slobodan Milošević, the novel asks yet again how seemingly ordinary people become perpetrators of atrocities. Drakulić’s final book Zašto nisam naučila kuhati (Why I Never Learned to Cook) released shortly before her death, is a collection of essays discussing her relationship with food through a series of personal vignettes. Translated into over 30 languages, her work is easily accessible to a global audience. Drakulić will be remembered as one of Europe’s strongest feminist voices, one who has influenced a generation of writers and journalists through her chronicles of war, nationalism and communism. Slavenka Drakulić was born on 4 July 1949 in Rijeka, Croatia and died on 20 June 2026 in Sovinjak, Croatia aged 76 READ MORE

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Slavenka Drakulić. Photo: De Balie/CC BY 3.0

				
				
				
				
				Slavenka Drakulić, Croatian writer, journalist and Index contributor, whose work covered topics from war in the former Yugoslavia to a novel on Frida Kahlo, has died aged 76. Born in Rijeka in 1949, she began her career as a journalist in the 1970s, going on to contribute to publications such as Index, The Nation, The Guardian and Dagens Nyhete, alongside publishing a number of fiction and non-fiction books.
When Index first published an essay by Drakulić in 1993 she had left Croatia for Sweden following a hit piece that described her and four other prominent female Croatian writers as “witches” and “traitors”. In her response entitled Close-up of death, she wrote angrily about what she called the “book keeping” of death since 1945 which had changed nothing for the tens of thousands of people under siege in Sarajevo during the Balkans war.
“Generations have learned about concentration camps at school, about factories of death; generations whose parents swear that it could never happen again – at least not in Europe – precisely because of the living memory of the recent past. They are fighting this war. What, then, has all that documentation changed? And what is being changed now, by the conscious, precise bookkeeping of death that is happening in our lives, in our living rooms, while we watch transmissions of the dying in Sarajevo?”
In a speech called Who’s afraid of Europe?, reprinted in Index in 2001, she warned of rising nationalism across the continent, asking “what exactly constitutes Europe? Where does it begin and end?”. Twenty years later she wrote again for Index. Emotional baggage explores the few items a refugee decides to pack before fleeing Russia’s invasion of Ukraine.
Drakulić’s 2003 novel They Would Never Hurt a Fly explored the personalities of accused war criminals as they went on trial for their actions during the breaking up of Yugoslavia.  Commenting on the trial of former president Slobodan Milošević, the novel asks yet again how seemingly ordinary people become perpetrators of atrocities.
Drakulić’s final book Zašto nisam naučila kuhati (Why I Never Learned to Cook) released shortly before her death, is a collection of essays discussing her relationship with food through a series of personal vignettes.
Translated into over 30 languages, her work is easily accessible to a global audience. Drakulić will be remembered as one of Europe’s strongest feminist voices, one who has influenced a generation of writers and journalists through her chronicles of war, nationalism and communism.
Slavenka Drakulić was born on 4 July 1949 in Rijeka, Croatia and died on 20 June 2026 in Sovinjak, Croatia aged 76

			
			
					
				
				
				
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Slavenka Drakulić, Croatian writer, journalist and Index contributor, whose work covered topics from war in the former Yugoslavia to a novel on Frida Kahlo, has died aged 76. Born in Rijeka in 1949, she began her career as a journalist in the 1970s, going on to contribute to publications such as Index, The Nation, The Guardian and Dagens Nyhete, alongside publishing a number of fiction and non-fiction books.

When Index first published an essay by Drakulić in 1993 she had left Croatia for Sweden following a hit piece that described her and four other prominent female Croatian writers as “witches” and “traitors”. In her response entitled Close-up of death, she wrote angrily about what she called the “book keeping” of death since 1945 which had changed nothing for the tens of thousands of people under siege in Sarajevo during the Balkans war.

“Generations have learned about concentration camps at school, about factories of death; generations whose parents swear that it could never happen again – at least not in Europe – precisely because of the living memory of the recent past. They are fighting this war. What, then, has all that documentation changed? And what is being changed now, by the conscious, precise bookkeeping of death that is happening in our lives, in our living rooms, while we watch transmissions of the dying in Sarajevo?”

In a speech called Who’s afraid of Europe?, reprinted in Index in 2001, she warned of rising nationalism across the continent, asking “what exactly constitutes Europe? Where does it begin and end?”. Twenty years later she wrote again for Index. Emotional baggage explores the few items a refugee decides to pack before fleeing Russia’s invasion of Ukraine.

Drakulić’s 2003 novel They Would Never Hurt a Fly explored the personalities of accused war criminals as they went on trial for their actions during the breaking up of Yugoslavia.  Commenting on the trial of former president Slobodan Milošević, the novel asks yet again how seemingly ordinary people become perpetrators of atrocities.

Drakulić’s final book Zašto nisam naučila kuhati (Why I Never Learned to Cook) released shortly before her death, is a collection of essays discussing her relationship with food through a series of personal vignettes.

Translated into over 30 languages, her work is easily accessible to a global audience. Drakulić will be remembered as one of Europe’s strongest feminist voices, one who has influenced a generation of writers and journalists through her chronicles of war, nationalism and communism.

Slavenka Drakulić was born on 4 July 1949 in Rijeka, Croatia and died on 20 June 2026 in Sovinjak, Croatia aged 76

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Upon her release, Sotoudeh thanked those who had supported her. “I have gained my freedom thanks to those who have always cared about us political prisoners in Iran,” she stated in a social media post. “We have many friends all over the world, from Iranians to non-Iranians whose hearts ache for the plight of modern humans who are constantly forced to pay a price to live a normal and dignified life.” The terrible irony of the situation is that if this had happened to someone else, Sotoudeh herself would have been the first port of call when looking for help, and she would no doubt have been one of the first to offer it.  Sotoudeh began practising law in 2003, after spending some time in her early career as a newspaper journalist writing about human rights violations. She worked on cases concerning children’s rights, representing juveniles sentenced to death or children facing domestic abuse, as well as cases involving women, ethnic minorities and religious minorities. Thus began a long, impressive career in fighting for human rights in Iran. Her husband Reza Khandan, a graphic designer turned activist whom she met at a hiking group and married in 1995, confirmed that her intention was always to be on the front lines of the fight for the protection of human rights. “Even before she became a lawyer I could see how much she wanted to help everyone,” he said in the 2020 documentary Nasrin.  Sotoudeh was one of the first to join the Campaign for One Million Signatures, a movement launched by Iranian women in 2006 to collect signatures in support of changing laws that were discriminatory against women. Although the movement garnered international support and acclaim, it was heavily suppressed by the authorities in Iran, who arrested and jailed many of the activists taking part in the campaign. Sotoudeh represented several of the persecuted campaign members herself and soon found herself in the crosshairs of the state. 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In January 2011, Sotoudeh was sentenced to 11 years in jail before being released in September 2013 along with ten other political prisoners.  Sotoudeh continued to speak out against human rights violations in Iran, representing political prisoners and activists including members of the Girls of Revolution Street group who publicly removed their hijabs to protest Iran’s compulsory hijab law. 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From a neighbouring high-rise, senior Prothom Alo reporter Galib Ashraf watched helplessly as the conflagration gutted the newsroom that had been his professional home for years. “This wasn’t just a building burning,” he told journalists later. “It was our history going up in smoke.” The acrid smell of burning paper was mixed with fear as glass crunched underfoot and sirens wailed in the distance. For journalists inside the buildings, the experience was visceral. For those watching from outside – fellow reporters, photographers, passers-by – the message was unmistakable. In Bangladesh, even the largest and most established newsrooms were vulnerable to attack. A month later, when Index visited the charred remains of the two offices, a yellow tape surrounded the building, marking the scene of a crime. Veteran journalist Matiur Rahman, editor of Prothom Alo, forced a smile. “We reached out to everyone that night for help,” he said. On the night of the fire, several journalists at The Daily Star found themselves trapped in their offices. The only escape route was upwards, to the rooftop. One reporter, Zyma Islam, posted on Facebook from inside, her words chilling in their simplicity: “I can’t breathe anymore … there’s too much smoke … I am inside.” Some reporters feared that they would die. Mahfuz Anam, editor of the Daily Star told Index that if he had been around, he would have been lynched. He, too, tried reaching out to the authorities. Whilst everyone was sympathetic, it took a long time for help to arrive. The need for a new leader There was an acute sense of betrayal also hanging in the air when Index visited the offices of the two newspapers. Both Prothom Alo and The Daily Star had argued for a more liberal political order in Bangladesh. In August 2024, the Prime Minister Sheikh Hasina had fled the country when her government agents killed more than 800 student demonstrators. Like many of the country’s educated and middle classes, journalists felt Bangladesh needed a new leader known for probity, someone like the Nobel Laureate Muhammed Yunus. The newspapers supported Yunus, who was known for his pioneering microlending work in Bangladesh, specifically to support indigenous trading women. The fact that he had been persecuted and by Hasina added to his credibility. So there was considerable enthusiasm when he agreed to become the chief adviser of the interim government, the de facto prime minister until elections were held. But his political choices stunned people. Even while expressing faith in the youth, he blindsided the female student leaders responsible for the uprising that felled Hasina by letting the misogynistic Jamaat-e-Islami party dictate terms. Sheikh Hasina had banned the Jamaat, but following her ousting, the Jamaat had a new lease of life and was going to contest the February elections. 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But a mob did succeed where others had failed, even if only for one night. The mobs that converged on Dhaka’s media hubs did not emerge from a vacuum. The proximate cause of the confrontation was the assassination of a student leader, Sharif Osman Hadi, who was the spokesperson for Inquilab Mancha, Platform of the Revolution, which had emerged from the student-led uprising. His killers are still at large. But that anger was quickly and violently redirected at the press. Mobs accused the two newspapers of political bias, branding them “India-backed” and loyal to Hasina. Human rights and press bodies across the world condemned the attacks, not as isolated incidents but rather as symptoms of a deeper malaise. Irene Khan, the UN Special Rapporteur for freedom of expression and opinion, called the arson attacks ‘deeply alarming,’ expressing her outrage over ‘orchestrated mob violence.’ Bangladesh’s media landscape had been corroded for years by oppressive laws, intimidation and impunity. Whilst the arson attacks were dramatic, they were not anomalous. They were the logical culmination of a long, grinding war on free expression in Bangladesh. The erosion began with fear. For more than a decade, Bangladesh has stayed in the bottom quartile of global press freedom rankings (in 2025, it ranked 149th out of 180 countries surveyed by Reporters Without Borders). Editors came to understand which stories would invite legal trouble. Reporters learned when not to quote certain sources. Bloggers discovered that a Facebook post could carry the same risks as an investigative exposé. Some were hacked to death, and many fled to safety, seeking asylum abroad. Digital dissent A major turning point came in 2018, with the enactment of the Digital Security Act (DSA) – a broad and vaguely worded law ostensibly aimed at combating cybercrime and digital harm. In practice, it became a powerful tool for muzzling dissent. The Act’s provisions criminalised a wide range of speech perceived as “false” or “offensive”, leaving journalists, social-media users and activists vulnerable to long jail terms and heavy fines. Rights groups warned early on that the law could and would be abused to silence critics. One of the most emblematic cases involved Shamsuzzaman Shams, a reporter for Prothom Alo arrested in 2023 after writing about rising food prices. The Hasina government charged him under the DSA with spreading “false news”. Nearly 3,000 people, including hundreds of journalists, have been charged under the Act since it was passed into law – this in a country whose constitution guarantees freedom of expression. The DSA’s broad reach is part of a larger pattern, wherein legal mechanisms intended to protect citizens instead serve as implements of fear and silence. In 2020, cartoonist Ahmed Kabir Kishore, for example, spent 10 months in pre-trial detention under the DSA on account of his satirical work, drawing international condemnation for his treatment. The writer Mushtaq Ahmed died in jail in 2021. He had criticised the government’s handling of the pandemic and died of a heart attack, although his supporters and lawyers, including the co-accused, said he had been tortured in jail. Beyond arrests and lawsuits, the threat of violence hangs like Damocles’ sword over independent voices. One of the starkest and most haunting chapters in Bangladesh’s press freedom story is the disappearance of journalists – most notoriously that of Shafiqul Islam Kajol, a photojournalist and editor who vanished in March 2020. Kajol was last seen leaving his Dhaka home a day after being charged under the DSA with a defamation suit, filed by an Awami League politician. CCTV footage showed unidentified men tampering with his motorcycle before he disappeared. Kajol’s family suspected abduction; rights groups demanded investigations that never yielded closure. Authorities denied he was in custody. When Kajol was eventually found, with his hands and feet tied, near the Indian border, Bangladeshi authorities arrested him for trespassing. A narrowing conversation These attacks and deaths are horrifying reminders that journalists and independent thinkers constantly face mortal danger in Bangladesh for the very act of thinking and speaking freely. When journalists fear for their safety and media houses are targets of mob violence, the public conversation narrows. Citizens lose access to independent verification of facts, analysis and accountability reporting, making it easier for misinformation to flourish In the elections in February 2026, the Bangladesh Nationalist Party (BNP) led by former Prime Minister Khaleda Zia’s son, Tarique Rahman, secured a two-thirds majority in parliamentary seats, with their rivals the Awami League not allowed to stand, and Jamaat performing much less well than people had feared. While the BNP’s manifesto has spoken of upholding press freedom, in the binary nature of Bangladeshi politics, it might in fact mean that publications suppressed under the Awami League will have greater freedom – while publications that opposed the BNP might find that not much has changed. A newspaper which BNP leader Rahman was involved with was accused of running campaigns against atheist bloggers. What distinguishes the recent attacks on Prothom Alo and The Daily Star however was not merely their scale, but their symbolism. This was censorship by arson, carried out not by the state directly, but by crowds emboldened by years of official hostility. When governments describe journalists as enemies, traitors or foreign agents, they license others to act accordingly. When attacks on critics of the government are normalised, the moral fabric of society frays. Bengal is the culture of patrikas, pamphlets penned by intellectuals to defy orthodoxy. Shut them down, and it becomes a lesser Bengal. When voices are silenced or endangered, the very sense of a collective narrative – of what holds a diverse nation together – is weakened. READ MORE

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